Stretched Thin (2010) is usually shown with Nailing Jelly, both films projected simultaniously onto walls rather than onto screens. They run on continuous loops, with sound, at around eye level and reasonable small in scale (the Jelly as close to 'life size' as the space will allow). They are treated as incidental rather than cinematic installations, without seating, allowing the viewer to give them as little or as much attention as they wish.
These works equate art making with living: the drive to create involves endless repetition, everyday frustration and the impossibility of ever getting it quite right. Stretched Thin and Nailing Jelly are film works which explore these concerns through an indirect method of making work which is destined to fail. The snapping of elastic bands and attempt to reform them, the absurd attempt to nail jelly to a white wall, imply violence, frustration and futility and yet an acceptance that something positive comes from this apparently pointless activity. The elastic bands ‘fail’ under sufficient tension: they look almost the same afterwards, but they are fundamentally changed. The futile attempt to hold the jelly in place destroys it as it splits, droops and tears, resisting containment.
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